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HOW TO WORK IT. 



HOW TO WORK IT 



A Manual for the Use of 

The Ben Day Rapid 
Shading Mediums 
and its Registry Attachments. 




Published by Benjamin Day, i9°5 
Reprint by Ben Day, Inc., ig^o 



I iS East 28th Street 

New York 

1913 



Copyright, llWlo, by 
BENJAMIN DAY. 

Entered at Stationer's Hall 

London, England, 

liKlo. 

Copyright, 1913, by 
BEN. DAY, Inc. 



■S)Cl.A3 3 27i)0 

1,1a I 



<^y 



CONTENTS. 

Page 
I.— The Ben Day Weighted Hold-fast, 1 

II. — Instructions for Inking and Manipulating the Ben Day Rapid 

Shading Mediums, 14 

III.— Tools and Their Uses, .16 

IV. — General Remarks, 19 

v.— The Ben Day Tubular Roller, 22 

VI. — The Ben Day Aluminum Inking Pad, 25 

Index, .27 



Illustrations. 

Fig. 1. — Ground plan of the Weighted Hold-fast, 

Fig. 2. — Side elevation of the Hold-fast, . . 

Fig. 3. — Placing the Hold-fast on a lithographic drawing, . 

Fig. 4. — Hold-fast ready for work upon a lithographic stone ; same 
principle for drawings on metal or card. 

Fig. 5. — The Hold-fast on table-level adjusted to the height of a stone, 
with its extension frame run out to the limit. 

Pig. 6. — Swerving either the stone or Hold-fast while at work, 

Fig. 7. — Detailed drawing of the Sliding Hinge Carriages, . 

Fig. 7a. — The Eccentric Frame Clamp, 

Pig. 7b. — Method of relieving the Medium from the Hinge Carriages, 

Fig. 7c. — The revoluble movement of the Sliding Hinge Carriages, 

Fig. 7d. — Method of ready adjustment of the Shading Medium in the 
Sliding Carriages, 

Pig. 8. — Larger illustration of relieving the Medium, . 

Fig. 9. — How to place the Medium on the pad for inking. 

Fig. 10. — Tools and their uses ; stylii, rubber rollers, stumps, 

Fig. 11.— The Tubular Roller, 



11 
12 
17 
23 



THE BEN DAY WEIGHTED HOLDFAST 

AND PORTABLE SAFETY ADJUSTER 

FOR PRINTING FILMS. 



Patented, 
United States of America, Feb. sS, 1905. 
Great Britain, Feb. 13, 1905. 
France, Feb. 20, 1905. 
Germany and Austria, Patents Pending. 



For Use with the Ben Day Rapid Shading Medium 

for Graining, Stipphng, Lining, and Otherwise 

Shading Drawings on Stone, Zinc, Copper, 

Aluminum, Cardboard, Paper, Tiles, 

Glass or Other Flat Surfaces. 



General Advantages of the Apparatus. 

It requires no "setting up," is readj' for work and is adjustable 
to any thickness of stone or plate, to a height of five inches. 

It saves time in mechanical handling. 

The entire machine is portable at the immediate will of the Portability. 
operator. It may be carried to a drawing in any part of the 
establishment. 

Once adjusted to the face of the work, you can move it, with Adiustability. 
the Shading Medium, at any angle desired on the drawing; re- 
move it when in your way ; and replace it for continuation of the 
work, when again needed, without further adjustment. 

By means of the Holdfast the Shading Medium can be used 
upon stones of any area, large or small. 

With its swing rods lowered to the level of its felt-edged base, jig^dy Dis- 
it will be found especially useful in very lai'ge work such as draw- placement to 
ings on card-board, paper, or architects' plans ; or on large sheets Different 
of aluminum or zinc for algraphic or zinc-surface printing, as it p^rts of the 
can be lifted by its handles and placed on any part of said surface Ji^ork. 
without injury to the work, if the latter be dry or protected by a 
cover-sheet. 

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THE BEN DAY RAPID SHADING MEDIUMS 



Description of Parts of Apparatus. 

The drawings that accompany the text show the details of the 
mechanical adjustment of the machine and exhibit the apparatus 
placed in various positions on the work. 




Fig. 2. 



SIDE VIEW (eight) OF THE HOLD-FA.ST, .SHOWING THE ELEVATING AND 
EXTENSION MECHANISM FOR ADJUSTING IT TO THE HEIGHT OF A 
LITHOGRAPHIC STONE. 

The imaginary lines, C C, illustrate tlie elevating movement of the sector 
wings C C, controlled by the sector slots C* C, and the clamping screws C C". 
The extension movement is effected by the drawing of the side rods D D 
through the sector boxes C C, which movement is arrested and controlled 
by the clamping screws C^ C^ See index for symbols of parts, and page num- 
bers of where mention is made of them. 



Figure I, confronting this page, is a ground plam. Figure 2 is a Farts 
side elevation. In Fig. 1, A is the base of the machine, which, with of the 
the Studs Aa, bears the rear cross-rod B. B supports the sector Apparatus. 
wings C C, which are provided with boxes C^ C^, through which 
slide the side rods D D. The side rods D D carry a forward cross- 
rod E, upon which move the sliding hinge carriages F and G. 
H is the frame of the printing film or Shading Medium and I I 
are the frame clamps attached to H, which are provided with 
sockets I^ IS into which fit the pintles F* and G' of the sliding 
hinge carriages F and G, when the frame of the Shading Medium 
is locked in the apparatus for work. I I are also provided with 

3 



THE BEN DAY RAPID SHADING MEDIUMS 



Adjustment 
to Different 
Heights of 
Surface ; 
Metal or 



levers with eccentric centres I^ V-, which clamp the grips I* I^ 
against the film frame, and also with ears, I^ I*, which, when the 
film is raised, bear against the locking screws F- and G^ of the 
sliding hinge carriages F and G, and serve to sustain the film at 
a resting slant when it is lifted and laid back by the operator for 
the purpose of consulting the work upon the drawing. The Hold- 
fast may be lifted in its entirety by the handles J J; a manual 
illustration of this will be found in Figure 3. 

Figure 2 shows how the adjustment of the Holdfast differs ac- 
cording to the height of the surface that has to be worked on. For 
drawings on card-board or metal see Figure 4. Although in this 
illustration the machine is placed upon a lithographic stone, it 
will readily be seen that this shows the principle of its application 
to work on any flat surface. Here the side-rods D D (see Figure 
2) have been swung downward by the s'^ctor-wings C C so that the 




Pig. 3. 
PLACING THE HOLDFAST UPON A LITHOGRAPHIC DRAWING. 



fon\'ard bar E, carrying the sliding carriages F and G, is about 
even with the base of the machine. If the surface of the card- 
board or metal is large enough, the Holdfast can be moved about 
at will over the drawing without any further mechanical opera- 
tion except the adjustment of the different films desired in the 
sliding carriages. It can be used similarly, as shown, upon any 

4 



THE BEN DAY RAPID SHADING MEDIUMS 



litho stone having sufficient dimensions to make this ready con- 
venience possible. 

If the card-board or the metal sheet be limited in size, then the 
Hold-fast must be rested on the drawing-board outside the work, 
and a slight adjustment made of the side-rods, thus raising the 




THE HOLD-FAST PLACED DIRECTLY UPON A LITHOGRAPHIC STONE, WITH 
THE SHADING MEDIUM LOCKED IN THE SAFETY ADJUSTERS. 



[The Hold-Fast's application, here, would be the same for surface drawings 
on card-board or metal. This illustration shows the apparatus locked up in Its 
closest compass.] 

forward cross-bar according to the thickness of the plate or card- 
board. The principle covering this slight adjustment will be the 
same as that pertaining to the adjustment of the machine to a 
stone of any height to a maximum of five inches. 

This principle is illustrated in Figure 5. Here we see the 
machine resting on the table outside the work with the side-rods Adjustment 
D D elevated and drawn out to their fullest extension, so that the to Level of 
film is carried over the stone by what is practically a flying frame. Lithographic 
This adjustment is accomplished as follows: Stone. 

First unlock the clamping screws C^ C^ and C^* C^ ; lift the bar 

5 



THE BEN DAY RAPID SHADING MEDIUMS 

E the elevation of which is regulated by the sector slots C** C*, 
and draw the side-rods D D through the boxes C^ C^ until the bar 
reaches its full or partial extension as desired. These side-rods 
must be drawn evenly through the boxes so that they do not gag. 
Having drawn the bar over the stone see that it clears the stone 




Fig. 5. 



THE HOLD-FAST PLACED UPON THE DRAWING TABLE AND AD.TUSTED TO 
THE HEIGHT OF A LITHOGRAPHIC STONE. 



Hera the Shading Medium is held hy the extension frame run out to its 
limit. This shows the adjustment of the apparatus to one of the smallest stones. 



from its surface in a parallel line about Vs of an inch, first turning 
the sliding hinge carriages F and G from any tilt or angle they 
may have acquired in their former position of work so that they lie 
even with the stone. The general level of the machine with an 
eighth of an inch clearance from the surface of the stone being 
thus assured, then re-lock C^ C- and C^ C^ securely. It is im- 
portant to lock all clamping screws before starting in to work. 
Swerving the The film may then be adjusted between the sliding carriages, as 
Film over the will be presently described. During the progress of the work, if 
Stone or it be necessary to change the position of the film for work upon 

Shifting the other portions of the stone, the Hold-Fast may either be lifted and 
Stone Under moved about the stone without further adjustment, or the stone 
the Film. itself may be swerved under the film to t^uit as in Figure 6. 

6 



THE BEN DAY RAPID SHADING MEDIUMS 

The adjustment of the Shading Film in the sliding carriages Mechanism 
F and G is a matter of the utmost importance. We will first de- for Hinging 
scribe these parts of the apparatus. Each carriage consists of a the Shading 
sleeve, F'' G*, with journaled bearings at each end, and a centrally Medium. 
located plug, dolly and set screw similar to that on the sector boxes 




THE STONE MAY BE SHIFTED UNDER THE HOLD-PAST OR THE HOLD-FAST 
MAY BE SWERVED OVER THE STONE. 



C^ C^, which secures each carriage firmly to the bar E. The car- 
riages can thus be secured to the bar E at any points in its length, 
and can be revolved on the bar so as to raise or depress the pintles 
carrying the film. This is a very important point of the mechanism, 
as it makes it possible to obtain an adjustment for a still nicer level 
of the printing film to the level of the surface on which the printing 
is to be done than that contributed by the sector movement at C^ 
In fact, this revoluble movement of the carriages on the bar E (see 
Figure 1'^) is the factor which determines the final perfect level 
of the film with the stone. 

Forming part of the carriages, and combined with the sleeves 
F'' G'', are two covered boxes, F° and G°, in each of which a threaded 
shaft revolves by turning the protractor wheels F^ and G''. These 
threaded shafts engage the threads of inner carriages sliding in 
fixed ways to give the inner carriages true movement without shake 
backwards and forwards. Between the outer and the inner car- 
riages of the members F and G, powerful spiral springs encircle 

7 



Revoluble 

Sliding 

Carriages. 



Micrometric 
Mechanism 
for Increasing 
Color in a 
Stipple or 
Line. 



THE BEN DAY RAPID SHADING MEDIUMS 



the threaded shafts, bearing against the inner carriages and the 
inside ends of the boxes enclosing them. These springs are tension- 
ed to constantly force the threads of the inside carriages against 



Note: Fig. 7a— 
See Ben Day 
Single Lever 
Frame Clamp 
opposite Index 




FIG. 7 — THE IMPROVED SAFETY ADJUSTERS, OR SLIDING CARRIAGES, 
WITH THE IMPROVED FRAME CLAMPS. 

Fig. 7a — The Improved Frame Clamp locked upon the film frame. The 
dotted lines show the lever open as the clamp is being placed upon or taken away 
from the frame. Fig. 76 — The thumb and forefinger used in adjusting the film 
in the sliding carriages or relieving the film from the same; see also Fig. 8. 
Fig. Ic — Illustration of the revoluble or rocking movement of the Improved Safety 
Adjusters. Fig. Id — Method of ready adjustment of the Shading Medium in the 
sliding carriages. 

the threads of the shafts, thus preventing any back lash or lost 
motion when turning the protractor wheels to the right or to 
the left. On the inner side of each carriage, P and G, where 



THE BEN DAY RAPID SHADING MEDIUMS 

the pintles F^ and G^ project, two guide marks, F° and G", one 
on the moving carriage and one on the fixed cari'iage, show the 
mean position of the inner carriage when the tension of the con- Imporiance 
cealed spiral spring is at its most resilient point of pressure. It of Register 
is important then to keep these marks in register when starting Marks. 
a series of movements forward or backward by turning the pro- 
tractor wheels to the right or to the left. 

The inner carriages, or sliders, are each furnished on the side 
towards the operator with two dependent lugs in which the pintles 
F^ and G^ are journaled. The left hand pintle F^ is tensioned 
between the lugs by a spiral spring, which recedes under pressure 
when the socket of the left hand frame clamp I is pushed against 
the point of the pintle. The right hand pintle G^ is stationary 
except when given a slight movement by rotating the protractor 
wheel G^°. G^° is bored and threaded to fit the threads cut on the 
outer end of the right hand pintle G^. A powerful spiral spring 
encircling this pintle, tensioned by a collar and pin, draws G^** 
against the stud where G^° impinges and takes up the lost motion 
when G^'^ is revolved to the right or left. G" is the centre of the 
movement of G'** marked or zero, and acts both as a steady-pin 
for the pintle G^ and a guide to show the lateral position of the 
film as G^° is revolved. 

We now ai'rive at the adjustment of the Shading Medium in Adjustins; the 
these carriages. We will suppose the extension and elevating me- Shading 
chanism of the Hold-Fast already adjusted to the surface on which Medium in 
the drawing has been made. Having decided which part of the the Sliding 
drawing we wish to shade, we take a clean un-inked film of the Carriages. 
desired pattern and put on and fasten to the film-frame the right 
and left hand frame clamps 1 1 by turning the levers I^ V- until the 
eccentrics of the same have tightened the grips I^ I^ against the in- 
ner edge of the frame H. See Fig. 1^. Now place the Shading Me- Frame Clamps. 
dium, mounted with its frame clamps, fiat on the drawing in a 
position approximate to where it is to be used. Then move the 
Hold-Fast into place so that the rod which bears the sliding car- 
riages is parallel with the frame of the Medium, and about an inch 
and a quarter distant therefrom. Each of the pintles F^ and G^ is 
coned to an exact guage. The sockets I^ I^ of the fi'ame clamps 



THE BEN DAY RAPID SHADING MEDIUMS 



Hinging the 
Medium in 
the Sliding 
Carriages. 



Spring Play 
of Left Hand 
Pintle. 



Leveling the 
Medium Upon 
the Face of 
the Work. 



are bored to an exact guage. Move the sliding carriages F and G 
along the rod until the outside of the socketed ends I^ I^ are in 
line with the termination of the cones of F^ G^ as shown by the 
dotted indications in Fig. 1^. ScreAV the carriages, then, securely 
to the rod ; lift the film, and with the left thumb and forefinger, as 
shown in Fig. 1^, press the left hand socket I^ against the spring 
pintle F^ which will recede about 14 of an inch. Then line the 
right hand socket I^ with the pintle G^, when the Shading Medium 
may be sprung from left to right to engage these members with 
each other. The film may now be considered securely mounted; 
as the spiral spring of F' brings its tension to bear against both 
pintles, keeping them sufficiently tight to prevent any lateral 
displacement of the film when the operator is rubbing in the 
print, and yet allowing sufficient resilience for the dis-engage- 
ment of the film from between the pintles at any time when re- 
inking may be desired, after which operation the film may be 
re-adjusted with perfect registry. Having locked the film, as de- 
scribed, in the sliding carriages, you must now look to its absolute 
level upon the face of the work. First, see to the general even 
adjustment of the sliding carriages above the surface of the work. 
The bar E, carrying the sliding carriages, as we have mentioned, 
should be about l^ of an inch above the level of the stone. In fact 
it will be well to see that the journal sleeves F^ G* have some 
clearance also, in case you have occasion to swerve your stone 
under the apparatus. This adjustment is achieved, as before 
described, by the raising or lowering of the rod E. If the film now 
should fail to lie perfectly flat upon the work a closer adjustment 
must be obtained by revolving either or both the sliding carriages 
F and G, up or down as may be desired. See Figure 7c. You can ad- 
just films of other textures without changing the level you have 
established if the frames are of the same thickness. Thicker frames 
have to be slightly re-adjusted. The film frame should lie on the 
work as it would if free from any attachments. 

Being ready to shade the drawing, now take out the film for 
inking. This is best done, with the least chance of deranging the 
apparatus, by placing, as suggested above, the fore-finger of the left 
hand on the left hand side of the box F^, and the thumb at the back 

10 



THE BEN DAY RAPID SHADING MEDIUMS 

of the socketed wing V, in wliich tlie left hand pintle enters. Relieving the 
Squeeze with the thumb, against the counter action of the fore Film with 
finger; the left hand pintle recedes, and with it the frame and the Thumb and 
right hand frame clamp until its socket is freed from the right Forefinger. 
hand pintle and the film is detached from its bearings. See Figure 
I, Figure 7^ and Figure 8 for detailed and general illustration. 




ADJUSTING THE SHADING MEDIUM IN THE REGISTERING CARRIAGES^ OE 
REMOVING THE SAME THEREFROM. 

For detailed drawings see Fig. 1 and Fig. 76. 

To get your film ready for a neat, sharp print, first lubricate the Back of 
back with the smallest amount of vaseline rubbed on (and off Medium 
again as much as possible) with a piece of cloth, until you have an Should be 
even, smooth, light coat. A ten per cent, solution of benzine and Perfectly 
wax may be used instead of vaseline, if preferi'ed. This lubrica- Lubricated. 
tion is absolutely necessary as it allows the stylus to slide over the 
back without friction, and without swerving the film by side pres- 
sure. Settle the film truly on its pad, printing-face up, taking care 
to have the frame clamps I I outside the table edge, as they, being 
thicker than the film frame, would interfere with the perfect settle- 
ment of the film upon the pad. Figure 9 illustrates this principle. 

Dust off the face of the film, and roll it up with a light charge 
of ink and the least amount of pressure on the roller, but with 
frequent rollings, until, when examined with a magnifier, the lines 

11 



THE BEN DAY RAPID SHADING MEDIUMS 



the Film. 
Stencils. 



or dots look as if they have received the same amount of ink and 
are all clear and black. (See general directions for Ink and Ecl- 
ler). Now cut out a stencil, in onion skin or French folio paper, 
to prevent the film and its binding crocking the stone where the 
texture is not wanted ; that is, if these parts have not been masked 




INKING THE SHADING MEDIUM. 

The Frame Clamps must lie clear of the edge of the work table, so that the 
film may be supported truly by the pad. 

Replacing the with gum. Place this over the drawing, and swing the film in its 

Film in the bearings F^ G^ as already described. Print your texture by rubbing 

Sliding Car- the back with the pressing tool where wanted, lifting and lowering 

riages with the film carefully to observe the work. If the print needs fortifying, 

'Thumb and now is the time to re-ink the film, replace it, and add another charge 

Forefinger. on the print already laid. This should be laid with a lighter pres- 

Transferring sure of the tool, otherwise, the heavy pressure displaces the charge 

the Tint with on the stone leaving an edge of ink around the dot, or the sides of 

the Stylus. the line that has been printed, and does not fortify the work. 

12 



THE BEN DAY RAPID SHADING MEDIUMS 



Do not hold the frame; the pintles will do that. If you must 
hold something, place your finger on the centre of the frame side 
toward you; int if you do this, do it during all the loork, 
putting your finger in the same place on the frame each time. It 
is best, however, to rely entirely on the devices provided to hold 
-the frame, and on the care with which you have adjusted the face 
of the printing film to the level of the stone. Very fine textured 
films, beyond the 120 line or its equivalent in stipples, have to be Careful Ad- 
manipulated with the greatest care. Every mechanical device justment to 
necessary to print these properly is embraced in the Hold-Fast, but. Insure Regis- 
it they are not all carefully adjusted, you can never count on the ^U — Lock all 
result. Improvisation to save time, is bad practice. Get into the Clamping 
habit at once of attending to all the details. Before starting work Screws. 
see that all the clamping screws of the Hold-Fast, C^ C-, C^ C^ 
F^ and G-, are securely locked to prevent movement. There is a 
minor lock-screw, F*, which may be locked, or not, as the operator 
elects. The object of F^ is to bind the spring-pintle of the car- 
riage F so that the pintle is in no danger of being sprung if the 
operator is working with an extremely fine tint like No. 21, for 
instance, which, being 210 lines to the inch, must be held most 
rigidly between the hinge carriages. It must be understood, how- 
ever, that F® must be released again before you can take out the 
film for re-inking. F® is simply intended as a measure for extra 
safety in certain emergencies. Ordinarily, it may be left open. G* 
is a steady-screw set in companion position to F*, presenting itself 
against the fiattened part of the pintle bar G^ It is a silent mem- 
ber of the mechanism and need not be operated. 

The devices for increasing color in parts already printed are Devices for 
absolutely as near perfection as it is possible to make them. On Increasing 
the three protractor wheels, F^, G*, G^" all lost motion is prevented Color. 
by powerful spiral springs. G'*' drives the pintle forward and 
backward in total a scant l-32nd of an inch. Further movement 
is prevented by a stop boss G" entering a circular recess in this 
wheel. The object of this stop is to restrict this motion so that 
the steady pin G^ attached to the pintle G^ which keeps said pintle 
from turning, may always slide in its groove without the possibili- 
ty of its leaving it. Its length before entering the groove prevents 

13 



THE BEN DAY RAPID SHADING MEDIUMS 



Lateral 
Movement 
of Right Side 
P 7' tract or 
Wheel. 

Horizontal 
Movement 
of Front 
Protractor 
Wheels. 



Increased 
Pressure 
will not give 
a Pure 
Increase of 
Color. 

Fastening the 
Holdfast to 
the 1'able if 
Desired. 



the slightest lateral change in the pintle when moved hy turning 
G^". G^" should always be set at 0, or zero, on the index, and the 
changes made by turning it alternately from right to left. This 
gives a lateral movement to the film and is ample for any increase 
of color laterally. 

The horizontal increase of color is governed by F* and G^. 
These should also always be started with at the indexes F^ G'^ and 
at the same time the lines on the sliding carriages ¥^ G*^ should line 
with the lines on the bearing, as at this point the spring does its 
best work in taking up lost motion. These guides, with the number- 
ed spaces on F-"* and G^, assist greatly in keeping a record of the 
movements made. 

It will be seen by these various devices that you can make 
prints on your work giving the greatest variety of shadings to the 
work first printed with an accuracy unapproached by any less 
carefully divided mechanism. At each movement the film must 
be taken out, re-inked and replaced in its new position. Never 
trust to increased pressure to thicken the work; film work won't 
hold, when crushed against the stone. You want just sufiicient 
pressure to have the printing face of the film touch the stone and 
yield up its ink — no more. This is especially true of the finer 
textures. 

While the entire apparatus of the Hold-Fast is portable, if 
the operator wishes to use the machine in a fixed position this is 
perfectly possible by means of screws fastened to the table through 
the base holes A"^ A'^. 

If c-^^V P"*'* o/ the Hold-Fast should get out of order, refer to 
Figures 1, 2 and 7 of the detailed illustrations and write or tele- 
graph the section mimher of the damaged part. 



Instructions for Inking and Manipulating the 
Ben Day Rapid Shading Medium. 

This section is devoted to general obser-vations for the benefit 
of the operator. Any recapitulation of points that have been 
touched on before, is due to our desire to impress upon the operator 
the absolute necessity of such points being observed. 



THE BEN DAY RAPID SHADING MEDIUMS 

As an absolutely rigid tint, or film, would be unworkable, it is 
necessary that there should be sufficient flexibility in the film to 
enable the operator to print its texture on the work in minute 
sections — if he so desire — or in broad reaches, if preferred. To 
do this successfully, the operator must bear in mind several points 
of importance; first, that a flexible film, no matter how tautly Flexibility 
mounted must of necessity be subject to every variation of pres- of Films. 
sure put upon it by the pressing instrument; second, that the 
value of its stipple, line, or texture is dependent also upon the 
manner and measure of its inking; third, that the film being more 
sensitive in damp, warm weather than in dry, cold weather, the 
effect of such conditions must be calculated. 

Directions, in detail, are as follows: 

While the Hold-Fast is a portable and not a "set" machine, and 
may be earned to shade a drawing in any part of the establish- 
ment, it is nevertheless better to observe the custom usual with One Corner 
our former apparatus and reserve one particular table for Ben for Ben Day 
Day work. The Hold-Fast and all the Mediums, with the inking Work. 
slab, composition roller, and the various pressing instruments, 
etc., are thus kept together and handy to each other. The advant- 
age of this being evident, it should be seen that the table on which Solid and 
the work is to be done is a solid one, secured to the floor so that it Level Work 
does not shake or rock. The surface of the table should be 'perfect- Table. 
ly level also, so that the stone and tlie base of the Hold-Fast will 
lie flat upon it. In the case of drawings on metal or card-board 
this will be just as necessary, as the drawing-board upon which 
these latter are mounted must flnd a solid level also. This matter 
of table level is most important. 

The steadiness of the work table being seen to, the inking slab Inking Slab 
should, if possible, be cased in on a low separate side-table, so that on Side 
the vibration due to rolling up may not disturb the registry of the "Table. 
work on the drawing. The slab should be preferably of stone to 
give it solidity, and about the size of 16 x 18 ; never of glass, and, if 
of metal it should be a similar sized piece of thick zinc, flnely grain- 
ed, and screwed securely to the table. On a shelf, beneath this 
table, should be kept the box containing the inking roller. The 

15 



THE BEN DAY RAPID SHADING MEDIUMS 

Shelves for roller, when not in use, should be kept in the box. On a shelf, 
Appur- over the inking table, should be kept a safety-can full of benzine 

tenances. and some soft rags for cleaning the films. Here, also, keei^ your 

inking pads. 



Tools and their Uses. 



Rolling Up 
Slab with 
Roller. 



Different 
Inking for 
Different 
Films. 



For the proper inking of the Mediums see that the inking slab 
and roller are lightly, but evenly, charged by a thorough distribu- 
tion of the ink, through frequent rolling upon the slab. The slab 
should be rolled until it and the roller present an even, velvety 
appearance. 

To ink the film, place it evenly upon its pad icith the frame 
clamps lying outside the table ledge and draw the roller lightly 
over it several times in one direction — toward yon. Then re- 
charge the roller upon the stone and repeat. Do not use undue 
pressure of the roller upon the film; the sensitive qualities of 
the film and roller are sufiScient to effect a perfect transfer of 
ink from one to the other. Excessive inking produces a smudgy 
result and adds nothing to the strength of the work. Thorough 
distribution is the main point. 

Follow, in your art room, the principles of a relief printing de- 
partment. All printing work cannot be inked alike. Neither 
can all films. Printing depths vary, always, with the face value 
of the plates. Fine half-tones, fine stipples, fine line tints cannot 
possess the depth of plates of bolder character. Judgment, there- 
fore, must be used in inking them. 

The film being properly inked, see that it is carefully placed in 
the registry apparatus so that it is held securely, and yet has suf- 
ficient hinge-play to admit of its being easily relieved for re-inking, 
if necessary. 

When applying the shading to the drawing, use either the agate 
stylus or the rubber roller. The pressure must be regulated by 
the face A^alue of the tint you are using. More pressure is required 
to put down a dark tint than a light one, just, as in the inking, the 
dark one requires more frequent rolling. 

16 



THE BEN DAY RAPID SHADING MEDIUMS 

Hence, in using the stylus, or pressure roller, on the back of Caution about 
the Medium, he sure and use only sufficient pressure to print the too Heavy 
dot, line or texture you are putting doivn. Never resort to the Pressure with 
expedient of varying color by pressing heavily on the Medium in Stylus and 
order to swell the print. The elastic quality of the Medium is Roller. 
intended to insure perfect contact, and, hence, a perfect print. 
The pressure required will vary, as we have intimated, with the 



W ^ 




Fig. 10. 
DIFFERENT STYLES OP PRESSING TOOLS. 



1. Pointed Stylus. 

2. Flat Stylus. 

3. Hook Stylus. 



4. %-mcli rubber pressing roller. 

5. 1%-mcIi rubber pressing roller. 

6. Paper, or leather, stump. 



weather, more being required in cold, dry weather, than in warm 
and damp weather. The darkening of a tint must be produced by 
re-inkings and movements, not by forced pressure. You can get 
from a tint only its true face value in color. Varying color by 
pressure spreads the ink, detracts from the sharpness of the print, 
and the result is weak for either etching or photo-engraving. 

In using the agate stylus, see that your pressure is even, and in 
touch with the responsive quality of the film. The back of the 

1? 



THE BEN DAY RAPID SHADING MEDIUMS 

More about Medium must be kept perfectly lubricated so that it offers no re- 
Lubrication of sistance to the free manipulation of the stylus. Upon this depends 
Back of Film, much of the success in laying a pure tint. Each film, as it is sent 
out from us, is lubricated properly, but, with use, it will lose its 
smoothness of surface. To renew this surface apply, with a soft 
rag, a little vaseline, or a ten per cent solution of benzine and wax, 
and polish with a piece of dry flannel. 

Observe care, in using the rubber roller, to prevent squelch in 
Use of Differ- the tint. A slip-sheet of blotting paper on the back of the film 
ent Pressing will prove an advantage, easing the effect of the roller, and thereby 
Instruments. facilitating perfection in broad reaches of flat tints. There are two 
sizes of rubber rollers, as shown in the illustration of tools above. 
One is % of an inch wide, the other an inch and a half. Where 
the tint is very light and delicate, as in the case of film Nos. 517 
or 532, a paper or leather stump may be found serviceable. The 
rubber roller is of value only in putting down light or medium- 
faced tints, and it must be remembered that the greater the width 
of the pressing roller, or other instrument, the less its efQcacy for 
laying down strong values of tints. Heavy tints require the more 
local pressure of the stylus. Of the stylii there are three different 
kinds; the pointed, the flat, and the hook. Every operator has his 
peculiar fitness for the use of a certain tool, but it may be stated 
here that, of these three instruments, the pointed stylus is the most 
useful. It can do all that the hook stylus can in the laying of flat 
tints, and more when it comes to working close to an outline. The 
flat stylus is an excellent tool, also, in the hands of the man who 
knows how to work it. On account of its breadth, it can be used 
only for tints of light or medium value, and it is absolutely essen- 
tial that it be worked upon the back of a film that is well lubricat- 
ed. The tool must slip readily over the film and the motion of 
using it must be that of a short, smart sweep rather than a heavy 
bearing upon the surface of the film. 

Always guard against too long a sweep with any of the press- 
ing tools. A sweep of three inches is sufficient. Beyond that, 
the hand has a tendency to make the tool describe a curve, and 
when the operator comes to work upon another lap of the tint 
that he is laying down, he is often confronted with the discovery 

IS 



THE BEN DAY RAPID SHADING MEDIUMS 

that his two lays of color have been thickened at the point where Even Lay 
the curves have joined, thus spoiling the evenness of his tint. of Color. 

Lay your tint down by first intentions, if possible, if you are 
using a stylus. Do not labor over it, as constant friction expands 
the film and forces it from its original- lay, again spoiling the 
evenness of your tint. One good plan toward obtaining a pure 
lay of color on a large scale is as follows: make the first lay of 
color by means of the rubber roller, passing the roller over the film 
with gentle pressure, and making no attempt to immediately obtain 
the absolute value of the film. Then finish with the stylus, or Avork 
more positively with the roller, as you prefer. The idea of this 
method is to have the stone, or card-board, on which the drawing 
is made, absorb a preliminary pale stain of the film pattern, so that 
when the stylus or roller is used to perfect the lay, the ink cannot 
spread as it would if its full chai-ge had been abruptly transferred 
at the start. This principle would not be so serviceable for metal 
on account of its non-absorptiveness. 

General Remarks, with Some Repetitions. 

Apart from the variety of effects to be obtained by the shifting 
movement of the Medium, as a means of varying color, there are 
endless resources in the combination of the various tints and tex- 
tures worked upon, or intermixed with, each other. But these 
must be combined judiciously. Some combinations result in pat- (^^j^i^i^^dg^ gf 
terns, which might be inappropriate in either black or color work c^^^^^^^j. 
for the artist's subject. It may be said, in general, that all 
straight-lined tints in combination with wave-line or graduated 
tints form a watered pattern; that all mechanical stipples form 
with themselves, or other mechanical tints, set patterns even when 
used in the different colors. 

The best effect in combining line tints, is in crossing them at 
right angles ; three crossings of a line tint at angles represented by 
an equilateral triangle is all that can be done with it, without pro- 
ducing ugly patterns. 

Hand-drawn stipples mix well with themselves, with grains, or 
fine half-tones. 

19 



THE BEN DAY RAPID SHADING MEDIUMS 



Placing the 
Medium on 
the Inking 
Pad. 



Cleaning. 



Certain line tints, notably the finer ones, combine well with 
certain hand stipples. 

Mediums No. 434 and No. 435, also the half-tone tints, will 
make excellent fillers to fortify work imperceptibly both in the 
body and vignette parts; but they must be used for this purpose 
judiciously, so that they will not offend in combination. 

Should the ink have a tendency to dry upon the slab and roller 
during the day, a few drops of turpentine put upon the slab, and 
rolled up until thoroughly incorporated with the ink, will freshen 
it without impairing its strength. But when resorting to this 
expedient, be sure to allow the turpentine to evaporate well and 
the ink to become quite firm again before inking the Medium. 
Otherwise, with the ink too thin, the Shading Medium cannot be 
purely inked. 

Keep the roller, and the ink upon the stone, clean and free from 
dust. The inking roller should never be rested upon its face; al- 
ways rest it upon its metal bearings within its case. 

When inking a Medium, be careful not to remove the frame 
clamps from it, or it will not register when the clamps are re- 
placed ; when inking, also be careful to let the hinges hang over the 
edge of the table, which gives you an even bearing upon the pad 
and may save you a breakage of the Medium. 

When gumming-out on stone or zinc, be sure-the gum is dry 
before applying the Medium. 

Clean the films every day, before they are put away, with ben- 
zine and a soft rag. Clean the stone and roller also. Ink, left 
over night, cakes on all surfaces and the expedient of "freshening 
up" is a bad one. Use sufficient benzine. The ink should be 
flaked off, so to speak, the rag or brush merely assisting its re- 
moval. Anything like scouring treatment, serves to rub the ink 
into the Medium, thus staining it. If you wish to re-ink a Medium 
immediately after cleaning, allow it to dry well first. A Medium 
should be cleaned, invariably, before attempting to lay any large 
stretch of pure color. If not, it will show the patterns of the work 
done in previous usings. 

Turpentine used for cleaning leaves a gummy residue upon 
the film. It is excellent for cleaning, otherwise, because it does 

20 



THE B F: N DAY RAPID SHADING MEDIUMS 

not evaporate too quickly. But benzine should be used finally to 
remove the gum of the turpentine. 

If, for some reason, a film should not ink readily, look to your 
roller and see if it picks up the ink properly. If it does not, its 
surface has been reudered repellent by some accidental affection 
of oil or grease in handling, or, if the weather be damp, moisture 
has affected it, thus foiling the ink. The expedient, in this case, 
is to clean off the roller with benzine and, to be sure that the fault 
is not with the film, clean that off, also. 

We would again emphasize the fact that too much attention 
cannot be paid to the delicacy of the inking, and to the judgment 
of inking the films differently according to their different face 
values. For instance, if you are using Medium No. 1 (dark line 
tint), or No. 424 (dark stipple tint), you must not expect to use 
the maximum charge of ink required by either of these films for More About 
the inking of No. 435. In this case you must deplete your charge Careful 
by "rolling off" on another plane of metal or stone, or wash off Inking. 
completely, and roll up your slab again with a lighter quantity. 
Indeed, to avoid trouble and loss of time, and to achieve, especially, 
unvarying excellence in results, we think that two inking slabs 
should be employed, one for fine, and the other for heavy tints and 
textures. 

Sometimes, in winter, the inking roller and ink slab refuse to 
take the ink because they are too cold, especially in the opening Refusal of 
work hours of the morning. In this case, the ink slab should be Pihn and 
lifted out of its casing and the chill taken out of it near the Roller to 
steam-pipes. Take Ink. 

Keep the Shading Mediums away from all extremes of tem- 
perature. Extreme heat or extreme cold is not good for them. 
See that the Mediums are not kept near the steam-pipes and do not 
leave them lying by the window for attack by the sun or moisture. 
When not in use, keep them in their boxes. 

Friskets, or stencils, for the covering of woi'k, when resorted 
to in place of gumming-out, should be cut if possible in a blank 
sheet the full size of the drawing, and held to the margin of the 
work by small pieces of bees-wax. 

In rolling up your ink slab, it is important to start with a 

21 



THE BEN DAY RAPID SHADING MEDIUMS 



Even Ink spread of ink-feed at the head of the slab drawn evenly across 

Fountain. the stone with a palette knife, so that the roller may draw frona 

this fountain an even charge all over the slab. Never spread inh 
upon your roller vnth the palette knife. 

The emphasis placed by us upon the necessity ofiworking all 
the appurtenances pertaining to the Shading Medium with care, 
will be understood by the operator when it is considered that the 
Day Shading Medium is one of the many important factors that 
go to make up the perfect printing establishment of to-day. The 
conditions of the printing art, at present, are more rigorous than 
they ever were before, and the trend toward finer results is in- 
Printing Art. creasing every day. The wonderful improvements made in print- 
ing machinery within the past few years, and the revolution which 
has taken place in the manufacture of special papers for both 
lithogTaphic and relief printing, prove the insistence that must be 
placed upon having all kindred adjuncts work perfectly. Thus, 
if special papers and special presses are being made to print color 
plates to a higher degree of perfection, it follows that the Ben Day 
Shading Medium which is the machine that makes the color plate, 
must be handled with as much skill and precision as is insisted on 
in every other department through which the color job passes in 
the processes that tend toward its completion. 



Modern Pro- 
gress in the 



The Ben Day Tubular Roller. 

(U. S. Patent, July 7, 1896.) 

This was invented purposely for inking the Ben Day Rapid 
Shading Mediums, and has so far been retained.exclusively for that 
purpose. It provides a surface that is firm, yet sensitive, which 
picks up the ink in the finest quantity and distributes it in propor- 
tion. It is mounted on a tube, but not fastened to it. Climatic 
changes, therefore, affect it equally. It cannot dish through 
shrinkage and must always present an even bar to the surface of 
both the roller and the film. Its hollow mandril and aluminum 
frame make it light to handle and hence a more perfect instrument 
for the delicate inking required by the Shading Mediums. 

22 



THE BEN DAY RAPID SHADING MEDIUMS 

The roller mount consists of a frame A, a shaft B, and a hoi- Description 
low mandril C. D is the tubular roller drawn over the mandril. At of Parts. 
the left end of C, E' is a drilled centre-plate bearing for the shaft 
B, and E", a screw-hub, which is a part of same and on which, after 
the roller is mounted, the end cap F is locked, to keep the roller 
flanged in its position on the mandril. The end of the shaft B 
entering the left hand arm of the frame is threaded and this end 
arm of the frame is threaded also to receive the shaft which when 
driven home, is secured by the lock nut G. Only the left hand arm 
of the roller is shown in the drawing, the one that embraces the 






Left. 



Fig. 11. 




THE TUBULAR ROLLER. 



detachable parts of the mechanism necessary for removing an old 
roller and replacing it with a new one. 

To remove the roller tube and mandril, first, take off the lock Removing and 
nut G; unscrew the shaft B from the end of the right arm, with- Replacing 
draw it, and the roller and mandril will be free. Now remove the the Tube. 
end-cap F by unscrewing it from the screw-hub E^, pull off the old 
roller tube D, and put on the new one. This latter must be done 
gently, so as not to distort the roller tube. When the new roller 

23 



THE BEN DAY RAPID SHADING MEDIUMS 

is on the mandril, replace the end-cap F, restore the shaft B, and 
when the latter has fully engaged the thread of the left hand arm 
of the frame A, secure the whole again hy the lock-nut G. The 
roller is now ready for use. 

It sometimes happens that in putting on a new roller tube, the 
material of the roller is crowded and the tube seems too short. 
By grasping the roller tube with both hands at the centre, and 
pulling it counterly right and left, in a direction away from the 
centre, you will bring the roller back to its normal length. 

Before starting in for the day's work with a roller, it is well 

Benzine IVash always to give it a preliminary wash with benzine. This will re- 

for Roller to move grease and finger marks all of which help to foil the pick-up 

Remove of the ink. The benzine wash is especially useful in damp weather 

Grease and when the roller is surcharged with moisture, and sometimes on 

Moisture. this account refuses to take the ink. The benzine being a quick 

Qvaporant, helps dry the surface of the roller and puts it in better 

condition for rolling up. 

Keep Roller If these rollers are kept in the box at all times, when not in use 

Clean and in on the stone, and are cleaned with soft rags free from buttons. 

Box when hooks and eyes and other scratching media, they will practically 

not in Use. last for years. We have used the same roller daily for proving the 

Mediums, before issue, for over three years and found it at the end 

of that time really better than a new one. The roller represents 

a curved plane carrying the ink, with which it is charged, to the 

plane or printing surface of the film. As the plane of this film 

is often divided into monticules, sixteen to twenty thousand of 

which are contained within the area of a square inch, it will be 

seen that a clear roller free from specks and dirt is required to ink 

such tints properly. 

Clean the roller and its inking slab every day. Clean with 
benzine. Never use water or lye. When working with fine half- 
tones or hand stipples, do not leave the roller lying on the slab 
during the interim of working the Mediums. If you do, the lower 
arc of the roller will flatten itself on the stone and a "bar" will 
appear that will affect the re-inking of the Medium, unless it is 
eliminated by careful and continued rolling up. By restoring the 
roller to its box after inkiu"- this trouble will be obviated. 

24 



THE BEN DAY RAPID SHADING MEDIUMS 

The Ben Day Aluminum Pad for Supporting 
Printing Films. 

(U. S. Patent, December 31, 1901.) 

For the perfect inking of the Shading Mediums, the support- 
ing pad plays an important part. The present invention is a 
great improvement upon the plane surface heretofore used for 
that purpose. The pad is constructed of two sheets of thin alumi- 
num, each about the twenty-fourth of an inch thick. Between 
these, is imprisoned a cushioning of felt or other elastic material. 
The cushion between the two plane metal surfaces causes the sup- Advantages of 
porting surface of the pad to yield slightly as the inking roller Cushionin? and 
passes over the film ; while its resiliency restores the plate to its Metal Plane. 
former level after the inking is done. In other words, the object 
of the aluminum pad is to provide a level and non-warpable 
surface for the inking of the very finest textures, which will at 
the same time readily accommodate itself to the action of the 
flexible composition roller passing over its printing-surface with- 
out inking the interstices, or intaglio parts, surrounding the 
textures in relief. If the metal surface of the pad is dented, or £^yg gf (j^^ 
otherwise injured, its utility will be destroyed. By returning the Aluminmn 
pads to the compartments in their case, after using, there will be Pad. 
no danger of accident to them. They should last for years. 
Should the pads become fouled with ink or grease, clean with a rag 
and turpentine. Keep the mat surface of the pad always clean. 
This will give you a white ground, against which you can see the 
texture of the film while inking it. 



THE BEN DAY RAPID SHADING MEDIUMS 

ADDENDA 

The Ben Day Single Lever Film Frame Clamp 

U. S. Pat. Nov. 30, 1909 




ANEW device for the adjustment of the Ben Day Rapid 
Shading Mediums. An improvement on the eccentric frame 
clamps, the mechanism being embraced in one member instead 
of two. The single lever, A, shows the clamp locked to the film 
frame. A' shows the clamp open. The lever is moved by the 
thumb and forefinger as indicated in the drawing. The lever 
bar, B, carried by the lever, A, moves the two flying wedges, A', 
locking the film frame against the jaws, C, C. 

Press the clamp flatly home upon the film frame before locking. 
In inking the film, the clamp must hang clear from the edge of the 
table. Toward this end have the edge of the aluminum inking 
pad flush with the edge of the table. (See "How to work It," 
page 12, Fig. 9.) Do not ink the film until all adjustments are 
made. D, D shows the pintle sockets which engage the revoluble 
hinges of the main apparatus. 

ADVANTAGES 



One working member instead of two. 
One lever movement instead of two. Clamps 
the film frame at any point within the space 
occupied by the holding jaws on any part 
of the film frame. 

Extends the area available for the setting 
of the registry hinges to the right or to the 
left of the holding bar and holds the largest 
film frames firmly in place on the bar when 
fixed in position. 



Makes it possible to change a film without 
disturbing the setting of the registry hinges. 

No end strain on the corners of the frame. 
The registry is metal to metal, not wood 
to metal. 

Quick adjustment of the film, quick dis- 
engagement, quick replacement. 

No soiled hands for the artist. No finger 
contact needed with inked edge of the film. 

Fits any film frame. 



THE BEN DAY RAPID SHADING MEDIUMS 

INDEX. 

Symbols of Parts of the Weighted Hold-fast, the Sliding 

Carriages, and Frame Clamps; where Mentioned 

or Illustrated. 



A. — A, base of machine, 
A,^, studs of base, . 
A'', base holes, . . 

B. — B, rear cross-rod, . 

C — CC, sector wings, . 
C^ C\ sector boxes, 



PAGES. 

2,3 

. 2,3 

2, 14 

. 2,3 

2,3,4 

2, 3, 6, 7 



C^ C^, clamping screws of 

sector boxes, 2, 3, 5, 6, 13 

C* C^, clamping screws at 

sector slots, 2, 3, 5, 6, 7, 13 

C* C*, sector slots, . . 3, 6 

C^ C^ sector box journals, 2, 3 

C C°, steel keys of slotted 

side rods DD, ... 3 

C C^ plugs entered by set- 
screws C^ C^, ... 3 

C^ C^, imaginary lines show- 
ing elevating and ex- 
tension movement of 
side-rods DD 3 

C' C^ screws securing 
sector wings to rear 
cross-rod B, .... 3 
D.— DD, side rods, . . 2, 3, 4, 5, 6 

D^ D\ studs of side-rods 

DD, 2, 3 

D- D-, screws securing for- 
ward cross-rod E, to 
studs of side-rods DD, 2, 3 

D^ D^ screw stops of DD, 2, 3 
E. — E, forward cross- 
rod, . 2, 3, 4, 6, 7, 8, 10 
R— F, left hand sliding 

carriage,2,3,4,6,7,8, 10,13 

FS left-hand spring 

pintle, , 2, 3, 8, 9, 10, 12 

P-, clamping-screw of 

carriage F, . 2, 4, 8, 13 

P^ left front protractor 

wheel, . . 2, 7, 8, 13, 14 

F*, journal-sleeve of 

carriage F, . .2, 7, 8, 10 



PAGES. 

F^ thread box of 

carriage P, . 2, 7, 8, 10 
F", guide mark, showing 

movement of F^ 2, 8, 9, 14 
F\ index of P^ . . 2, 8, 14 
P^, steady screv/ of 

pintle P', . . . 2, 8, 13 
G. — G, right-hand sliding 

carriage, 2, 3, 4, 6, 7, 8, 10 
G\ right pintle, 2,3,8,9,10,12,13 
G^, clamping screw of 

carriage G, . 2, 4, 8, 13 
G'\ right front protractor 

wheel, . . 2, 7, 8, 13, 14 
G*, journal-sleeve of 

carriage G, . 2, 7, 8, 10 
G^ thread box of carriage 

G, 2, 7, 8 

G'', guide mark showing 

movement of G^ 2,8,9,14 
G', index of G\ . . 2, 8, 14 
G^ steady screw of G\ 2, 8, 13 
G\ steady pin, . 2, 8, 9, 13 
G'", side protractor wheel, 

right, . . 2, 8, 9, 13, 14 
G^S stop boss of side pro- 
tractor wheel, right, 

2,3,8,13 

H.— H, frame of printing film, 

2,3,8,9 

I.— 11, eccentric frame 

clamps, . . 2, 3, 8, 9, 11 
P V, pintle sockets of frame 

clamps, 2, 3, 8, 9, 10, 11 
P P, eccentric lever of 

frame clamps, . 2, 4, 8, 9 
P P, grips of frame 

clamps, . . . 2, 4, 8, 9 
P P, resting ears of frame 

clamps, . . . . 2, 4, 8 
J.— JJ, lifting handles of Hold- 
Past, 2, 3, 4 



MAR 1 1313 



LIBRARY OF CONGRESS 



019 934 5941 



